guitabulary

BLUES EDITION

> Overview & Reference

GIMME AN F
PENGUIN BOOGIE
SEE THIS
BEER BAYOU
SUNCOAST SHUFFLE

Guitabulary - Special Blues Edition

Play Killer Blues Guitar In Just 30 Days!
The Language of Blues Guitar
Learning how to play blues guitar is not rocket science. It's actually pretty easy
to nail the basics. Think of it like you would a language made up of words,
phrases and sentences. Every blues player (yes, everyone) learns and plays the
same blues phrases, or "licks", but it's each player's individual personal
expression, sound and style that makes that phrase their own. And here's the
best part -- there's endless variations on the theme. Once you've learned a new
phrase, you can tweak it by adding or removing notes, or adjusting the timing a
bit and you'll wind up with ten more new blues licks to add to your vocabulary.
Guitabulary teaches this language of blues guitar by equipping the student with
over 350 blues phrases to choose from and learn.

Hey, Show Me That!

Very few of us have the time to learn how to read, master music theory, take
lessons or even practice new material regularly. On the other hand, we'll take
advantage of any opportunity to plug in for a few moments and jam to our
heart's delight until sleep or the significant other calls. Most of us learn best
when we're able to sit down with a teacher or bud and have them show us
something that they just played that sparked our interest. That's what
Guitabulary is all about -- a spontaneous and cognitive learning system for
strummers like us.

New "Cognitive" Learning System

Guitabulary is the first quick-learning system for guitar to employ a "cognitive"
format, which adapts itself as well to beginners as it does for advanced players.
This study program is unlike anything you've ever seen. There's no beginning or
end -- students cherry-pick their starting point. You do not need to read music.
You do not need to learn theory. You don't even need to practice that hard. You
do have to spend an hour a day, for 30 days, working on the elements that
you've selected. It's even OK to skip a few days here and there as long as you
retain the previous practice session's learning.

How It Works
Picture this: four world-class blues players and instructors come over to the
house for a jam session. They bring a killer band along to lay down a diverse

range of blues jam tracks. The guitar players then take turns soloing over the
tracks, each with their own style and "voice". Now here's the trick -- you get to
stop them anytime that you hear something that you'd like to learn and they'll
break it down for you note for note, slow then at tempo, and so on until you can
claim that phrase or rhythm part as your very own. Guitabulary features ten
killer blues solos broken down phrase-by-phrase (350 of 'em!), chord-by-chord,
and technique-by-technique.

Have It Your Way

You select only the phrases and parts that most interest you and then work with
the corresponding MP3 audio examples and instruction manual. There's full
notation for those who want it and tablature for the rest of us. We illustrate
every fingering and demonstrate every technique. The Guitabulary manual
features 192 pages of chord sheets, charts, notation, tablature, fingering and
improvisational theory in PDF format and can easily be printed out. Naturally,
beginners would focus on the simpler phrases while the advanced players would
tackle the more acrobatic parts. Fear not, there's plenty of material for players of
all levels. And there's lots more to do after the first 30 days -- this Guitabulary
edition provides over 100 hours worth of blues guitar instruction.

Lets Get Rigged!

If youre reading this PDF manual then youve already got Adobes Acrobat
Reader, which allows you to navigate Guitabularys manuals interactively. To
get the latest version simply click here: Adobe Acrobat Reader
Youll also need an MP3 player to play the audio files. Any player will work fine.
Got one? Great, skip ahead. Need one? No problem simply click on either of
the following links to download one of our favorite free players: RealPlayer or
Window Media Player

Guitabulary Elements
This volume of Guitabulary is packaged into 7 modules each module contains a
single PDF manual and a large selection of MP3 files. The first module is titled
Overview & Reference (youre in it now) and includes a notation guide, theory
manual an improvisational primer (Improv Theory). We highly recommend that
you listen to all of the audio components of this section at least once, especially
the six-step presentation. The next 5 modules each feature a blues track,
corresponding rhythm guitar lesson, and two killer blues solos (by different
artists), first played as whole solos and then broken down phrase-by-phrase,
note-by-note. Each phrase is demonstrated slow and then again at tempo. All

material is transcribed in both standard notation and tablature with special

notation showing fingering, scale positions and specific improvisational theory.
The manuals and audio files are organized into individual folders for quick
access and easy storage. The 7th module features a selection of bonus lessons that
will round out your understanding and mastery of blues guitar.

Working With The Manuals

The electronic PDF Guitabulary manuals contains all of the features youll need
to get the most out of Guitabulary. At the very least, youll refer to the manual
for tablature and chord charts. But if youre really into the details then youll find
instructor commentary, notation, fingering, theory, rhythm charts, tonal charts
and just about anything you could ask for that relates to the material being
covered.
The best way to work with the manuals is electronically. Simply open the manual
with Acrobat Reader and flip through the pages right on your computer screen
using Readers easy viewing and linking features. Weve linked all of the audio
files to their corresponding sections in the manual so that you can instantly start
playing the audio files without having to search through the file folders. Of
course, you can also print the manuals out and then open the audio files
manually if you prefer.
The following examples illustrate how the audio links work:
If you see text enclosed in a red rectangle, simply click within the rectangle and
the audio player will boot up and then play the corresponding audio file. Go
ahead and try it below (make sure you have your MP3 player installed and ready
to go).
Bending Techniques
Whenever you see a Track ID icon, click on it and then the corresponding audio
file will play. Go ahead and give that a try as well by clicking on the icon below:

Where To Start?
First explore to your hearts delight -- open up each individual modules folders
and get a feel for the manual and audio files contained within. Open up the
manual and click on a few Track IDs and have a listen to some of the material.
Flip through the theory section just for kicks and sample some of the six-step
improvisational presentation. Play a few of the bonus lessons. In short, take
inventory of what youve got available to you. Then pick one of the tracks to start
working with and get busy. Play the rhythm track and jam over it. Browse
through the commentary and theory section. Learn the rhythm guitar part. Listen
to both solos and then pick out the licks that youd like to make your own. Move
on to the phrase-by-phrase section and then nail those licks. Go back to the
rhythm track and try your licks over the track. Try your new licks over one of the
other blues tracks. Mix and match. Tweak. Have fun.

Play Killer Blues Guitar In Just 30 Days!

The key to playing killer blues guitar in 30 days is simply organizing the time you
spend with Guitabulary and sticking to a daily practice regimen. Spend a third of
each practice session learning at least one new lick or trick. Spend another third
reviewing your previous practice sessions new material. Then spend the final
third having a little fun by jamming over the various tracks with your new
arsenal of chops. Spend no more than 20 minutes a session on new material and
then dedicate the rest of your time on review and jamming. Its really that easy!
What to do on the 31st day? Dig in again. The intermediate player will find over
100 hours worth of blues guitar instruction contained within Guitabulary thats
good for a years worth of woodshedding! Enjoy Guitabulary and please let us
know how youre doing and what you think of the system by emailing us at
info@truefire.com - ignited we stand!

Contents

NOTATION GUIDE
THEORY LESSON

4
10

Major Scales

Diatonic Chords and

Scale Degree Equivalents

The Formula Method

for Chords and Scales

Scale Formulas

Tonal Colors

Parent Scale Concept

Scale Formula Fretboard Diagrams

10

Complete Harmony

12

Scale Possibilities

12

The Blues Composite Scale

12

Subsets of the Blues Composite

Scale

12

How to Apply Scales and

Arpeggios

14

Scales and Arpeggios Applied to

14

Scales and Arpeggios Syllabus

for Gimme an F

16

HOW TO APPLY MASTER THEORY Q&A

17

SIX-STEP APPROACH TO IMPROVISATION 19

NOTATION GUIDE: ANDY FRAZIER

TUNING
Notation Guide
These two pages show in detail the tablature notation used in Guitabulary. You will encounter
these techniques and articulations throughout. A printed transcription of the corresponding
audio is on pages 69. Audio demonstrations of the various techniques are indicated by a x.

Bending Techniques
Bend

&

Bend and Release

Grace Note Bend

full
\

full

Double Stop Bends:

Compound Pre-Bend

#
&

1/2
full

(Pick all notes)

2 full

full

full

3
6

or...

(Pick 1st note only)

or...

1/4

hold bend

Unison Bend

(5)

PB
full

full

Compound Bend &

Release

Slight Bend

Pre-Bend

(5) (5) (5) (5)

Vibrato

~~~~~

Wide Vibrato

mmmm

let ring
PB
full
\
5

PB
2
\

PB
full
\
7
7

5 5

full hold bend

8

~~~~~

full
8
7

mmmm
5

let ring

Vibrato Bar Techniques

Dip

Scoop

&
w/bar

w/bar
5

Melodic Bar

Bar Vibrato

w/bar

~~~

w/bar

(5 )

Finger Slide/Glissando Techniques

Legato Slide

&

G U I TA B U L A R Y, V O L U M E 1

Picked Slide

Dive to Nonspecific
Bar Prebend
Pitch

~~~ ~~~~
w/bar

w/bar -1/2-1-1/2
8

Bar Flutter

w/bar

w/bar

~~~~

Descending Slide to
Nonspecific Pitch

w/bar

w/bar

w/bar

PB
w/bar
-1-1/2

Bent Harmonics
NH

NH
w/bar
12

Ascending Slide from

Nonspecific Pitch

w/bar

+1

Legato Techniques

&

~~~~~

Trill

Pull Off

Hammer On

Hammer On with
Pick Hand Tap

Hammer On
"From Nowhere"

Legato Phrasing

hold bend
full
T

~~~~~
5

(9

7)

7 9 7 5 7

Bend and Tap

hold bend
T

Tap and Slide

12

12

12

Right Hand Techniques

Alternate Picking
(
(

Sweep Picking

= Downstroke)
= Upstroke)

&

Rake

Rasgueado

gg
gg
ggg

Palm Muting

Pick Scrape

Tremolo Picking

PM

3
4
5

X
X

Harmonics
Natural Harmonics

Artificial Harmonics

j
J
J

&
J

NH

NH

12

12
7

12
7

12

Pinch Harmonic

PH

AH

12

AH
T

AH

Tapped or Touch Harmonic

AH
T

PH

7 (19)

5 (17)

19

Miscellaneous
Ghost Note

&

( )

(5)

Staccato

Marcato

. . . . ^ ^ ^ ^

Accented Note

>

Fret Hand Muting

Analysis
Chord analysis
relative to key:

C
I

Timing Variance

Scale degree
relative to chord: 1

+
Play ahead
of the beat

Play behind
the beat

X
Suggested LH
fi
i

G U I TA B U L A R Y, V O L U M E 1

NOTATION GUIDE: ANDY FRAZIER

Bending Techniques
The guide starts off with Bending Techniques. Bending
is one of the expression techniques that guitar players
use to give our playing a more vocal quality. When
bending, its important to make sure that youre not
just pushing up the string arbitrarily . . . usually theres
a target note that you want to reach. Here its indicated
in the notation by the second note E, which is connected to that fretted D by that sort of angular slur. In the
tab we use an arrow and an indication of the interval,
or distance, between the bent and fretted notes. Here,
its a full, or whole step, which means you're producing
a note that sounds like the note 2 frets higher. If it said
1/2, it would mean 1/2 step, like 1 fret higher. 1-1/2
would be like 3 frets higher . . . you get the idea. Most
players like to hedge their bet a little in making sure
they nail the note theyre after by using more than one
finger to produce the bend. Doing this bend, from D to
E, I use my 3rd finger for the D, and put my second
finger down behind it on the 6th fret to help with the
push. If I were using heavier strings, I might want to
use three fingers . . . but with a bend less than maybe a
step and a half, I like to keep my first finger free for
whatever might come after the bend.
Note that while the two notes are connected in pitch by
that kind of sliding, or slippery sound, theyre still distinct in terms of timing. If it had said even between the
two notes, I would have made a slower, more gradual
bend, still taking the timing into consideration.
The second example is a grace note bend. The difference here is one of timing. In the first example, the fretted note had a definite time value, here the fretted note
is used as more of a decoration for the bent note. The
difference in the notation is pretty clear, it looks like a
regular grace note . . . in the tab, its distinguished by
the fact that the arrow goes straight up, rather than
curved to the right.
The third example takes it one step further . . . once
youve bent the note, now you want to hear the fretted
note afterward. With this technique, you still only pick
the first note . . . hang onto the string while you release
the bend and let the sustain articulate the 3rd note.
The next example is a pre-bend. This ones a little trickier than the others, because you have to make sure
youve nailed the pitch of the bent note before you
strike it. Here Id like to mention a practice tip that will
not only help you with this, but with all of the bending
techniques where youll have to make sure the pitch is
dead on. Choose a note you want to use as the fretted
note, then one youd like to bend to. Since the example
here shows a C and a D on the G string, well use those.
Now, play the two notes normally, fretting both of them,

G U I TA B U L A R Y, V O L U M E 1

here on the 5th and 7th frets.

Now try it only fretting the first one, and bending up to
the second.
Now alternate between the two, and try to get it so if
someone werent looking, they couldnt tell how you
were getting that second note.
This is a great way to get used to how far, in terms of
distance, you need to bend with your guitar, your fingers, and your strings, to nail particular intervals.
The next example is something Brad likes to call a
smear. Its almost more of a tug than a bend . . . the
idea is to bring the pitch up about a quarter tone, but
not necessarily exactly a quarter tone. Its used most
often in blues on the third degree of the scale or prevailing chord, to accentuate that ambiguity where the chord
is major, but the scale is minor.
Next up is the unison bend. Here you fret two notes, on
two adjacent strings, usually the notes are a whole step
or half step apart, and you bend the lower note up so
its pitch matches that of the higher note.
Now weve got the compound bend and release. Here
youve got to make sure your pitch accuracy is really
on. This is when youre picking only the first note,
bending it to at least two more, then releasing it, either
straight down to the fretted note, or stopping on the
way to sound a few of the notes in between the highest
bent note and the fretted one.
The compound pre-bend is another tricky one. This is a
lot like the previous example, only now youre picking
all of the notes. Again, pitch accuracy is crucial.
The next few examples involve double stop bends. You
can create some really cool effects with these, from
sweet pedal-steel type sounds to really raunchy growls.
I play the first one by laying my 3rd finger across the B
and G strings at the 7th fret, then bending up. Whats
interesting about this is that you end up with something
that should be impossible: a bend that starts off with a
major 3rd interval between the notes, and ends up with
a minor third . . . meaning youre bending the G string
up a whole step, and the B string up a half. Theres no
really tough technique involved with this; its the
physics of the guitar that allows that to happen. Just
concentrate on getting that G string up a whole step,
and the B string will do its job.
Next is a technique where you bend one note, and
while its ringing, strike another note to form a double
stop (or diad . . . hows that for a word?). I use my 2nd

and 3rd fingers to make the bend, and my 4th finger to

grab that G on the B string.

really bring out the next note. Just strike the note and
bring the bar down.

This ones similar to the last one, and also to the unison
bend . . . only here theyre not unison. Play the G and
D together, then bend the D up to an E.

The bar pre-bend is another tricky one you may want

to practice before committing it to your major-label
debut. Here you bring the bar down to a specific pitch,
in this case down a step and a half from C to A, then
strike the note.

Vibrato is included under bending techniques because

technically you are bending the string, though with
vibrato youre not necessarily bending to a specific
pitch. Here its helpful to be aware of timing. The most
effective vibrato moves in time to the music . . . dont
just shake the string.
Wide vibrato, as you might have guessed, is just a more
extreme version of regular vibrato, although, if you were
at a party full of guitar players, you may find yourself in
a heated argument over whether youre supposed to
make this vibrato wide enough to actually produce new
notes a half or whole step higher. Let your ears be your
guide on this one.
Vibrato Techniques
The vibrato bar is another tool we can use to add
expressive power to our lines . . . from subtle shimmers
to in-your-face growls and dive bombs. The first technique presented here is the scoop, where you strike the
string with the bar down, and quickly release the bar
back up.
The dip is different from the scoop in that you first
strike the string, then quickly bring the bar down and
back up.
When you use the bar melodically, youre doing something similar to what a trombone player does . . . and it
sounds a lot like the compound bend and release technique weve already covered. In this example, you strike
the fretted C, bring the bar down a half step to change
the pitch to B, then a whole step to A, then back up. To
get a feel for how your bar responds, you might want to
try practicing this in the same way that was described
along with pre-bends, where you alternate between fretting the target note and using the bar, until you cant
tell the difference.
Vibrato with the bar produces an effect similar to finger
vibrato, except that it can be more pronounced. Again,
keep timing in mind.
The bar flutter is a cool way to add a bit of insanity to a
note. Strike the note, then flick the bar so it vibrates
quickly on its own.
Diving to a non-specific pitch is a great way to end a
solo, or to either accent the note you're diving on, or

The combination of harmonics and the bar can produce

some great effects that cant be produced any other way.
As with bending and the melodic bar technique, youll
need to make sure your pitch is dead on. For an incredible example of this technique in action, check out
Where Were You on Jeff Becks Guitar Shop.
Finger Slides and Glissandos
Next up is finger slides and glissandos. The first example
shows a legato slide, where you only pick the first note,
and then slide up to the second with the same finger.
The picked slide is similar, except that you pick both
notes, still making sure you can hear the slide
between them.
The descending slide to a nonspecific pitch is pretty
straightforward . . . pick the note, and then glide your
finger down a ways so you get a kind of falling off
effect. Many times, the tempo of the tune, and possibly
the relative length of the diagonal line in the notation
and tab will indicate how far down you should go.
An ascending slide from a nonspecific pitch is a great
way to bring out a note. Again, tempo and the length of
the line can indicate how long the slide should be, but
its really a feel thing.
Legato Techniques
Now weve got some legato techniques. The first is the
venerable hammer-on, where you pick the first note,
then hammer down with your left-hand finger to
sound the second note without picking it. Try to hammer hard enough to get that second note as clean and
clear as the first. It also helps to make sure that youre
using your fingerTIP, and not the side or the front.
The pull off is indicated on paper the same way as the
hammer on . . . using that curved line we call a slur.
The difference is that with a pull-off, the first note is
higher than the second. To get a feel for the technique,
you may want to consider its name . . . go for a pull-off,
rather than a lift-off. That way, you're actually picking
the string with your left hand finger. As you get into
some more involved legato lines, though, youll want to
get used to sounding the notes using more of a lift-off
technique.

G U I TA B U L A R Y, V O L U M E 1

NOTATION GUIDE: ANDY FRAZIER

A trill is basically a rapid combination of the hammer

on and pull off techniques. Pick the lower note, then
hammer on and pull off quickly. Although this can be
subjective, many of the most effective applications of
the trill technique have some relationship to the timing
of the tune.
Legato phrasing is simply applying the hammer on and
pull off techniques to the melody youre playing, rather
than picking each note. Pick the first note, then hammer the higher ones and pull off to the lower ones.
Fingering can be a critical consideration here. In this
example, Im using my 1st finger for the Cs, 2nd finger
for the Ds, and 4th finger for the E.
A hammer on from nowhere basically involves producing a note without picking it, but just bringing your left
hand finger down on it hard enough to sound it clearly.
This technique is most useful during extended legato
lines that cross strings, where using the pick would
interrupt the fluid sound of the line.
Now we'll bring the picking hand into the action for the
tapping technique . . . here youll pick the C, hammer
on the D, then bring either the index or middle finger
of your picking hand over to hammer on the G. There
have been arguments for centuries over which finger is
better, and what to do with the pick while youre tapping. Eddie Van Halen, one of the best known proponents of this technique, will roll the pick into his middle finger, anchor his hand on the neck with his thumb
and little fingers, and tap with his index finger when
hes doing an extended passage. For a one-note tap like
this, many players (including Eddie), will keep the pick
in its normal position and use the middle finger to produce the note. This is kind of a comfort thing . . . do
what feels best to you. A lot of times, for an extended
passage, Ill hold the pick between my teeth and use my
index finger for the tapping. Whatever works for you,
go for it.
The bend and tap technique pretty much explains
itself by its name . . . pick a note, bend it up, and
while its bent, tap a higher note. Since the string is
bent while youre doing the tap, its important to be
aware that the note you tap will sound higher than it
normally would if it were just a fretted note. In this
example, we're holding a whole step bend while tapping, so even though we're tapping on a G, itll sound
like an A.
The tap and slide technique could also be called the
tap, slide and pull off technique. Here you start with a
tapped note, then slide up and pull off . . . how far you
slide depends on how radical you want it to sound.

G U I TA B U L A R Y, V O L U M E 1

Right-Hand Techniques
Now weve got some right-hand techniques. The first is
standard up and down picking. This is the best way to
get the most out of your picking technique . . . if you
only picked one way, youd still have to go the other
way to get ready for the next stroke. With alternate
picking, youre using that motion to its best advantage.
Sweep picking is most often used for arpeggios...that is
playing the individual notes of a chord successively
rather than all together. If you talked to 10 different
guitarists, youd get 10 different answers as to whether
you should finger the notes ahead of time like a chord,
or fret them individually just before the pick hits the
string. The basic idea is that you pick several notes on
adjacent strings in rapid succession, using a single
downstroke or upstroke to glide from one string to the
next.
A rake is similar to a sweep in that you glide the pick
across the strings, only in this case, you're focusing on
producing a single note, and muting the other strings
with either your fretting hand, your picking hand, or a
combination. I most often use a combination. This is a
great way to bring out an important note.
Rasgueado is kind of like a slow strum . . . but not too
slow. Here you want to add a little drama to the sounding of a chord by making the attack with your picking
hand a little more deliberate, quickly sounding each
individual string.
Tremolo picking is another one that may cause a brawl
at that party full of guitar players. The technique
involves rapidly picking a single note. Some say you
should use your normal picking technique and just go
really fast, others say its more effective to use your arm
for the picking motion and let it fly. The symbol most
often seen in contemporary guitar music involves three
diagonal lines under the note, meaning a free or
untimed tremolo. Whats less often seen in todays guitar notation, but may be useful (especially in trivia
games), is that if theres only one line, you divide the
note value in half (so if you saw a quarter note with one
line, you'd play 2 eighths) . . . if theres two lines, you
divide it in quarters (so, there youd play sixteenths).
Next is the pick scrape. An easy, but effective technique,
where you scrape the strings with the side of your pick,
either down (from the bridge area to the nut area) or up
(from the nut area to the bridge area). This is another
one where the exact length of the scrape is a feel thing.
Palm muting involves placing the side of your palm, the
fleshy part between your pinky and your wrist, right on
the bridge. Youll need to experiment with this one,

because if its too far behind the bridge, itll have no

effect . . . and if its too far in front, itll mute everything.

this time, youll pick the regular fretted note first, and
then tap at the harmonic location.

Harmonics
Next up on the guide is the topic of harmonics. First,
well look at natural harmonics . . . which involve placing your fretting finger LIGHTLY at certain points along
the string and then striking the note. When I say lightly,
I mean really lightly . . . dont press down at all, just
touch the string. The strongest harmonics are produced
directly over the 12th, 7th, and 5th frets. Youll also
occasionally see fret indications like 2-2/3, or 3-1/3.
When its just a fret indication, place your finger right
over the fret wire, not just behind it as you would when
playing a normal note. When the indication involves a
fraction, many times it's subjective . . . you may need to
experiment, depending on your guitar, with the exact
placement of your finger to get the desired note. The
example uses a cool application of the E minor pentatonic scale with the 9th degree (F#) added . . . all with
natural harmonics.

Miscellaneous Techniques
The last of the techniques well be looking at dont fall
easily under any particular category, so weve called
them Miscellaneous. First is the ghost note. This is a
note almost felt more than heard . . . its produced by
using both the palm mute technique, and the fretting
hand mute, which Ill describe momentarily.

The reason harmonics work has to do with the distance

between the nut and the bridge . . . if you divide that
distance by certain amounts, you get node points
where other notes can be sounded. Luckily, the way the
guitar is designed, you can kind of cheat that system by
creating a moveable nut . . . namely your fretting finger.
Just like you can produce a harmonic 12 frets above the
open string, you can do the same thing 12 frets above
any fretted note. In this case, were fretting at the 7th,
then 5th frets of the G string, (without picking them),
then tapping quickly with the picking hand right on the
fret wire 12 frets higher (at the 19th and 17th frets
respectively). Dont leave your picking hand finger
down too long . . . just tap and move away. You might
also want to try the other techniques that fall under this
category . . . try placing the index finger of your picking
hand at the harmonic location, and plucking the string
with your thumb . . . theres also the harp harmonic
technique, where you put the heel of your hand at the
harmonic location, and use the pick to strike the string.

The accent is pretty straightforward . . . dig in a little harder on the note, but not quite as much as with marcato.

Staccato, technically, divides the written rhythmic value

in half . . . if you see an eighth note with a staccato
mark, the idea is to play a sixteenth note followed by a
sixteenth note rest. You probably wont need to be quite
that picky about it, though . . . in contemporary guitar
usage, generally it means to play with choppy phrasing.
Marcato is like an extreme accent . . . dig into the note.
Often its also helpful in getting the effect to cut the note
just shy of its written value.

Fret hand muting involves lifting your fingers up

enough to mute the string, but not so much that you
produce a harmonic.
The analysis is there basically to give you a technical
and theoretical understanding of what youre playing.
The roman numeral tells you what the chord is relative
to the key, and the arabic numerals give you both a suggested left hand fingering, and they tell you what the
note is relative to the chord.
Timing variance is a subjective and stylistic device
where you can make the tune feel a little rushed by
playing ahead of the beat, that is, playing a little quicker
than the tempo, or you can make it feel a little more
relaxed by playing a little slower than the tempo . . .
thats playing behind the beat.

Pinch harmonics are another great way to bring a note

out in a phrase. Hold your pick normally, and note the
little corner between the pick and your thumb on the
outside edge (opposite your wrist) of the pick. If you
get the string in that corner, and slightly angle your
hand so that when you're striking the string you catch
not only the pick but a bit of the flesh of your thumb,
you can produce a pinch harmonic. Move along the
string between the neck and the bridge to find the best
harmonics . . . there are a bunch of them.
A tapped or touch harmonic is similar to the first variation of the artificial harmonic technique, except that

G U I TA B U L A R Y, V O L U M E 1

THEORY LESSON: BRAD CARLTON

IMPROV THEORY

W
Major Scales
The chart at right lays out for you all the
notes in all major keys. The Ws and 1/2 s
across the top represent the intervals between
each of the noteswhole steps and half steps.
The Roman numerals represent the degrees
of the scales. For example, the third degree of
C major is E. The Greek words across the
bottom are the names of the modes that begin
on each degree. That is, if you wanted to play
in the F Lydian mode, youd use the notes of
the C major scale, but treat F as the root.

Diatonic Chords and

Scale Degree Equivalents
The next two charts show the chord qualities
(major, minor, etc.) that result from building
chords on each of the scale degrees. The
third shows scale degree equivalents.

/2

II

III

IV

VI

VII

VIII [I]

E
F#

C#
F

Bb
Eb
Ab
Db
Gb
Cb
Ionian

F#

F#
C#
G#

G#
D#
A#

Bb

Bb

Bb

Eb

Eb

Ab

Ab

Bb

Db

Db
Gb

Eb
Ab

Gb

Bb

Cb

Mixolydian

Aeolian

Locrian

Ionian

C#

F#

C#
G#
D#

F#
C#
G#
D#
A#
E#
B#

F#

G#
D#
A#
E#
A

E
B

Bb

Eb

Ab
Db

Bb
Eb

Eb
Ab
Db
Gb
Cb
Fb

Dorian

Phrygian

Lydian

Diatonic 7th Chords

Scale Degree Equivalents

Major: I, IV, V
Minor: II, III, VI
Diminished: VII

Major 7: I, IV
(Dominant) 7: V
Minor 7: II, III, VI
Minor 7 ( b 5): VII

Extensions: 9 = 2
11 = 4
13 = 6

G U I TA B U L A R Y, V O L U M E 1

/2

Diatonic Triads

The Formula Method for

Chords and Scales
When using these formulas, always start with
the major scale of the prevailing chord or
scale. Say youre trying to figure out the notes
in a D minor 9th chord. The chart at right
specifies 1 (the root, D in this case), b 3, 5,
b 7, and 9. The next note after the root we
need is a flatted third. Find the D major scale
in the Major Scales chart above. Under the
Roman numeral III on the chart youll find
the third of the D major scaleF #. Since the
chord calls for a flatted third, we need to
lower this note a half step, to F. You can find
the rest of the notes the same wayfor the
fifth and flatted seventh, look under V to get
A, and under VII to get C #remember
to flat this to C. For the ninth, you need to
go beyond the first octavesince VIII is the
same note as I, IX (if it was there) would
be the same as II. The ninth we need, then,
is E. You can build scales the same way
find the major scale with the root you need,
and fill in other notes according to the chart
in appendix III, flatting and sharping where
necessary.

F#

C#

G
D
A
E
B

F#

C#

Altered Extensions: b 9 = b 2
# 9 = # 2 (enharmonic with b 3)
# 11 = # 4 (enharmonic with b 5)
b 13 = b 6 (enharmonic with # 5)

Major Family of Chords

(Maj)

1 3 5

Dominant Family of Chords

1 3 5 b7
(Dom) 7

(Maj) add 9

1 3 5 9

(Dom) 7/6

1 3 5 6

b7

(Maj) 6

1 3 5 6

(Dom) 9

1 3 5

(Maj) 6/9

1 3 5 6 9

(Dom) 13

1 3 5

Maj 7

1 3 5 7

(Dom) 7 sus 4

1 4 5

Maj 9

1 3 5 7 9

(Dom) 7/6 sus 4

1 4 5 6

Maj 13 (Maj 7/6/9) 1 3 5 7 9 13

(Dom) 9 sus 4 or 11 1 4 5

Maj 7/6

(Dom) 13 sus 4

3 5 6 7

Minor Family of Chords

1 b3 5
Minor
1 b3 5 9
Minor add 9
1 b3 5 6
Minor 6
1 b3 5 6
Minor 6/9
1 b 3 5 b7
Minor 7
1 b 3 5 b7
Minor 9
1 b 3 5 b7
Minor 11

4 5

b7
b7
b7
b7
b7

9 13

b7
9
9 13

Other Chord Types

5 (power chord)

sus 2

sus 4

add 9 sus 4

Minor 7 ( b5 )

Diminished 7th

b 3 b 5 b7
b 3 b 5 bb7*

9 11

Augmented

#5

* bb 7 = 6 (enharmonic equivalent)

Scale Formulas
Apply the scale formulas to the major scale
whose root (1) is the same as the root of the
scale you wish to spell. For example, to spell
a G Mixolydian mode, apply the formula
1 2 3 4 5 6 b 7 from the Major Scales
formula chart to the G major scale, which
yields: G A B C D E F.

Tonal Colors
Strive to hear each of these tones against all
harmonic situations:
1 Strongest tone (root)
3 Very strong (e.g. Power chords are
root-fifth)
5 Strong Major sound
b 7 Brings out the blues sound
(dominant sound)
b 3 ( # 9) Brings out minor sound. Also acts as a
blue note against dominant 7 harmony. The
b 3 wants to resolve to the 3
6 (13) Not as strong as previous tones
2 (9) Jazzy, not as strong as previous tones
4 (11) Sus4 sound
# 4 ( b 5) Blue note, sinister sound, wants to
resolve up to 5 or down to 4 for blues
sound
7 Pretty, major 7 sound, tends to
resolve upward to 1
b 6 ( # 5) Weak tone, resolves down to 5 or up to b 7
b 2 ( b 9) Tension tone, resolves down to 1

Parent Scale Concept

Modes are offspring of the major scale,
which is the parent.

Scale Formulas
Ionian (Major Scale)

Dorian

Phrygian

b2

b3
b3

b6

Lydian

#4

b7
b7

Mixolydian

Aeolian

b2

b3
b3

Locrian

b5

b6
b6

Major Pentatonic

Minor Pentatonic

Blues

Blues Composite

b3
b3

Harmonic Minor

b3 3
b3

Phrygian Dominant

b2

Melodic Minor

b3

Lydian Augmented

Overtone (Lydian b7)

* Mixolydian b6 (Aeolian Major)

b7
b7
b7

b6
b6

b7

4 #4
4 #4

#4
#4

Super Locrian (Altered Dominant)

Half Step/Whole Step Diminished

Whole Step/Half Step Diminished

Whole Tone

b7
b7
b7

5
5

#5
5

b6
b6

b2 b3 b4 b5
b2 b3 3 #4 5
b3 4 #4 #5
2
#4 #5
2
3

b7
b7
b7
b7

b7

Mixolydian b6 is not illustrated in the Scale Formula Diagrams. To form this scale, take the
* Mixolydian
mode and flat the sixth.

Mode Colors
Each mode has a color. Learn to hear these colors:

Ex. 1: D Dorian contains the same notes as

the C major scale. It can be thought of as a C
major scale played from D to D.
Ex. 2: Ab Lydian is an Eb major scale played
from Ab to Ab .
Ex. 3: The parent of B Mixolydian is E major.
In many situations, you can mix modes for
more colors. For example, over dominant 7
chords in blues, you can use both Dorian
and Mixolydian, or Blues Composite, which
contains the Dorian and Mixolydian notes.
Finally, remember that whatever exists in the
parent scale (chords, clusters, pentatonic
sub-scales, etc.) also exists in offspring modes.
Examine these and try all of the possibilities.

Ionian Pretty, Major soundDo, Re, Mi etc.

Dorian Jazzy Minor sound
Phrygian Spanish Flamenco sound
Lydian Bright Major sound
Mixolydian Bluesy Major sound
Aeolian Darker Minor sound
Locrian Very Dark Minor 7 b 5 sound
Overtone Bright Dominant 7 sound
Phrygian Dominant Spanish Flamenco sound

G U I TA B U L A R Y, V O L U M E 1

THEORY LESSON: BRAD CARLTON

Scale Formula Fretboard Diagrams

These diagrams are all in G. You can transpose them
to other keys by moving the root (the 1) to the note
you need, and moving everything else relative to that.
For example, If you wanted to play B b, youd move
everything up three frets. The notes on the E and A
strings are shown at the bottom of page 11 to help
you find the roots you need.

Ionian (Major Scale)

6

2
7
1

5
3

b7

b3

b7

b3

b7

b3

1
5

3
1

3
5

b3
4

2
b3

5
b6

4
5
b6

10

b6
b7

b7

2
b3

5
b6

b7

5
b6

b7
1

b7
1
b2

b3
4

b7

3
4

7
1

3
4

7
1

7
1

b7

b3

b7

b3

b3

4
#4
5

4
#4
5

b6
b7

b2
b3

2
b3

b3

5
b6

1
b2

b7

b3

5
b6

2
b3

5
b6

5
b6

1
b2

b7

b7

b7
1

b7

b3

4
#4
5

b3

b7

4
#4
5

b7

#4 7

#4 7
5

#4

7
1

3
4

#4 7

7
1

#4

#4 7

4
#4
5

b7

b7

b3

6
b7

2
b3

b7

b3

2
b3

4
#4
5

6
b7

2
b3

b3

4
5

6
b7

b7

6
b7

2
b3

2
b3

5
6

Mixolydian
b3

b6
b7

b2
b3

1
b2

4
b5

b7

b3

b3

b6

1
b2

4
b5

1
b2

4
b5

b7

b3

b6

1
b2

4
b5

b6

7
1

1
b2

b3

5
b6

5
b6

Dorian

b7

b3

Locrian

b7

G U I TA B U L A R Y, V O L U M E 1

3
4

Phrygian

1
2
b3

Aeolian (Natural Minor)

b7

b3

3
4

3
2

Blues

Minor Pentatonic
1

7
1

Major Pentatonic

Lydian

b7
1

4
b5

b7

b6

1
b2

b7

b3

1
b2

4
b5

b3

b6

b7
1

5
3
4

1
6
b7

6
4

b7

6
b7

3
4

3
4

6
b7

3
4

3
4

6
b7

Overtone
6

b7

5
3

#4

1
6
b7

6
b7

1
2

#4

#4

b7

b3
b4

1
b2

b5
b6

b3
b4

b7

b5

1
b2

b6

6
b7

2
b3
3
4
#4
5

3
1

6
b7

#4
5

#4

b6

b7

b2

b4
b5

b3
b4

1
b2

7
1

b7

b6

1
b2

b7

b5

2
3

#5
3

#4 7
#5
6

#4 7
#5

1
2

b3

5
6
b7

6
b7

2
b3
3
4
#4
5

6
4
#4
5

2
b3
3
4
#4
5

3
4
#4
5

1
2
3

b3

b7

b6

b5

b3
b4

b7
1
b2

1
b2

b3
b4

b3

b5

b3
b4

b6

6
b7

6
b7

2
b3
3

b7

b7

1
b2

2
b3
3
4
#4
5

#4

b3

1
b2

6
b7

#4

b3

#4
5

1
b2

#4
5

b7

b3

1
b2

3
2
3

#4

#4 7
#5

#5 1

#4 7

2
3

#4
#5
6

7
1
2
b3

b3

b6

5
b6

7
1
2

3
4

1
b2

b7

5
b6

1
b2

3
4

b3
3

b3

#5

4
#4

2
b3

7
1

#5

6
4
#4

7
1

#5

2
b3

7
1

2
b3

7
1

2
b3

2
b3

#5
#4

#5

2
3

#5

7
1

7
1
2
b3
4

b7
7
1

#5 1

4
#4

2
b3

5
6

Whole Tone
6

4
#4

2
b3

7
1

6
4

7
1

4
#4

2
b3

1
6

7
1

5
b6

b3
4

2
b3

1
b2

b7

2
7
1

b7

5
b6
3
4

4
#4

#4

#5

#5

b7

b7
1

#4

#5

#4 b7

#5 1

3
1

#4

b7

b7
1
2
3

#4
#5

1
4

7
1

2
b3

5
b6

4
5

1
b2

b2

Notes on the E and A Strings

2
b3

4
5
b6

5
b6

#4

Harmonic Minor

b7

b7

5
b6

1
b2

#4 b7
6
b7

3
4

b6

3
4

b2

Melodic Minor

Whole/Half Diminished

1
6
b7

Lydian Augmented
2

Half/Whole Diminished

b7

Super Locrian
b7

#4

Phrygian Dominant

Blues Composite

7
1

5
b6

7
1

F F#/Gb G G#/Ab A A#/Bb B

C C#/Db

10
D

11

D#/Eb

12
E

2
b3
7
1

2
b3

5
b6

A A#/Bb B

C C#/Db D D#/Eb E

10

F F#/Gb G

11

G#/Ab

12
A

G U I TA B U L A R Y, V O L U M E 1

11

THEORY LESSON: BRAD CARLTON

Complete Harmony
To readily see the harmonic possibilities for any scale, view the scale in thirds instead of
seconds. The name for a scale in thirds is an heptatonic arpeggio. For example:

C Major (Ionian) in Seconds

C Major in Thirds (C Major Heptatonic Arpeggio)

11

13

By looking at the major family of chords on page 8, you can readily see that all of the chords in
this family can be built from a C major scale.

Scale Possibilities
Any of the chords in the minor family would be contained in the dorian mode. Its all a matter
of viewing chords as subsets of the larger set, which is the scale (mode). This would mean,
then, that the dominant family chords containing a 4th would accept the dorian mode. Likewise,
the power chord, sus2, sus4, and add9 sus4 chords would also accept the dorian mode.

A Dorian Mode in Seconds

A Dorian Mode in Thirds (A Dorian Heptatonic Arpeggio)

b3

b7

b3

b7

F#

11

13

By comparing the chord formulas on page 8 with the scale formulas on page 9, scale
possibilities for any chord will be revealed. Blues and certain tension situations in jazz require a
different approach than just matching up the numbers. An understanding of tonal colors of
different notes is necessary to develop a tonal palette for these styles. A brief overview of the
blues composite scale will reveal some possibilities.

Blues Composite Scale

The blues composite scale may
be viewed as the sum of the
major pentatonic scale
( 1 2 3 5 6 ) and the blues
scale ( 1 b 3 4 # 4 5 b 7 ):
1 2

b3 3 4 #4 5 6 b7

As a scale by itself, it isnt very

effective, due largely to the
chromaticism between the 2
and the 5. The real secret is
what this scale contains.

Subsets of the
Blues Composite Scale
You might think these are just
various groups of numbers,
but each subset of the blues
composite scale has its own
tonal color. Knowing these will
enable you to weave a blues
solo from sweet to gritty. In all
formulas, # 4 and b 5 are used
interchangeably.

12

G U I TA B U L A R Y, V O L U M E 1

Sub-Scales of the Blues Composite Scale

b9 9
b2
#
1
Chromatic
1
2

#9
b3
#2
b3
b3
b3

10

11

Blues Composite

Blues

Minor Pentatonic

Major Pentatonic

Mixolydian

Dorian

Major Pentatonic add 4

Major Pentatonic add b 3

Minor Pentatonic add 3

Blues add 3

Mixolydian add b 3

Mixolydian add b 5

Dorian add b 5

Minor 6 add 4

Minor Pentatonic add 2

Overtone

Half-Whole Diminished

Whole-Tone

b2

2
2

b3
b3
b3
b3
b3
b3
b3
b3
b3

# 11
b5
#4
#4
#4

6
6

5
5

4
4

#4
#4
#4

4
4

13

b 13
b6
#5

12

#4
#4
#4

b7
b7
b7
b7
b7
b7

b7
b7
b7
b7

b7

5
5

5
5
5

#5

b7
b7
b7
b7

Half-whole diminished and whole-tone scales each contain one note which is not in the blues composite scale. These two scales are
used for outside jazz/blues playing.

All arpeggios are written in

a condensed formula (i.e.
9=2, 11=4, 13=6, etc.).
This allows for an easier
comparison to scales.

Arpeggios and Modified Arpeggios Contained within the Blues Composite Scale
b 9 9 # 9 10 11 # 11 12 b 13
b2
b3
b5
b6
#
#
#
#
1
2
4
5
2
3
5
Chromatic
1
4

Remember . . .
9 is the octave of 2
13 is the octave of 6

# 11
b 13

7/6

13

7 add b3 (7# 9)
7/6 add b3 (13# 9)
9 add b3
13 add b3
7 add b5
7/6 add b5
9 add b5 (9# 11)
13 add b5 (13# 11)
7 add b3 add b5
7/6 add b3 add b5
9 add b3 add b5
13 add b3 add b5

11 is the octave of 4

b9
#9

is the octave of b 2

is the octave of # 2 (b 3)

is the octave of # 4 (b 5)
is the octave of b 6 (# 5)

1
1

Mixolydian add b 5
Minor Pentatonic add 3
Blues add 3
Contained in
Dorian
1 2 b3 4 5 6 b7

Minor Pentatonic add 2

Minor 6 add 4 Arpeggio

Dorian

Minor Pentatonic
Dorian add b 5
Blues

3
3

Minor 6

Minor 6/9

Minor 7

Minor 7/6

Minor 9

Minor 11

Diminished Triad

1 2 3 4 5 6

1 2 3 5 6

Major Pentatonic add 4

Minor add 9

Major Pentatonic

Mixolydian add b 3

Minor

2
2

1
1

A Tonal Spectrum of Scales Commonly Used when Soloing over Dominant Blues

Major Pentatonic add b 3

Minor 7b5/11

Mixolydian

Minor 7b5

Contained in
Mxolydian
1 2 3 4 5 6 b7

b3
b3
b3
b3

#4
#4
#4
#4
#4
#4
#4
#4

b3
b3
b3
b3
b3
b3
b3
b3
b3
b3
b3
b3
b3
b3
b3

3
3
3
3
3

1 2 b3 3 5 6

1 2 b3 3 4 5 6 b7
1 b3 3 4 5 b7

6
6
6
6

5
5

5
5

5
5

5
5

b7
b7
b7
b7
b7
b7
b7
b7
b7
b7
b7
b7
b7
b7
b7
b7
b7

5
5

5
5
5
4

b5
b5
b5

b7
b7
b7
b7
b7
b7

A Tonal Spectrum of Dominant Arpeggios

Soft Blues
More Major,
Sweeter
Country

1 2 3 4 #4 5 6 b7

Bluesy

1 2 3 4 5 6 b7

13

Jazzy

color or sound

7/6

13

1 3 5 b7

1 3 5 6 b7

1 3 5 b7 9

1 3 5 6 b7 9 13

Each of the dominant family arpeggios above may have the b 3 and/or the b 5 added to
form scale possibilities.

1 b3 3 4 #4 5 b7

1 2 b3 4 5 b7
1 b3 4 5 6

1 2 b3 4 5 6 b7

1 b3 4 5 b7
1 2 b3 4

#4

Hard Blues
More Minor,
5 6 b 7 Bluesier

1 b3 4 #4 5 b7

Each of the scales above is contained within the Blues Composite Scale.

1Mixolydian add 3 same as Dorian add 3.

2Minor Pentatonic add 2 same as Minor 11 Arpeggio.
3Minor 6 add 4 Arpeggio same as Dominant 9 Arpeggio a perfect fourth higher.
4Minor Pentatonic same as Minor 7/11 Arpeggio.

G U I TA B U L A R Y, V O L U M E 1

13

THEORY LESSON: BRAD CARLTON

How to Apply Scales and Arpeggios

The following diagrams are examples of various scales (this
page) and arpeggios (opposite) that could be applied to the
chords in Gimme an F (F, Bb, C). They are plotted out in
one general area of the guitar neck. Try using this approach
when you are preparing for soloing over a tune. Other
approaches are: Playing up and down just one string, playing diagonally across the fingerboard, playing on non-adjacent strings, etc. On page 16 are some optional arpeggios
for use over the C7 in Gimme an F. The more varied your
visualization of information on the neck, the more options
youll have and the more freedom youll have to be creative
(and the less likely youll fall into ruts!). Now youll be able
to apply these concepts to the other tunes in Guitabulary
using the Guitabulary guide.

Scales

applicable to Gimme an F in one general area of the guitar neck:

B b Major Pentatonic

F Major Pentatonic

10fr

10fr

C Major Pentatonic

3
5

9fr

F Blues

b7

b5

9fr

b3

b7

#4

3
1

b7

b3

# 4 b7

b3

#4

B b Blues Composite

F Blues Composite

C Blues Composite

C Blues

#4
10fr

b7

b3

b7

#4

b7

b3

9fr

#4

b3

b5

b7

b3

#4
5

b7

b7

#4

b3

G U I TA B U L A R Y, V O L U M E 1

b5

#4

14

b7

8fr

3
1

b3

b3

b5

9fr

3
1

b7

b3
3

5
6

# 4 b7

b3

3
1

b3

5
4

#4

b7

b3

#4
5

Arpeggios

applicable to Gimme an F in one general area of the guitar neck:

B b7

F7

10fr

b7

10fr

C7

b7

b7

9fr

b7
b7

b7

10fr

b7

F7/6

b7

b7
3

b7

1
3

B b 7/6

10fr

C7/6

b7

9fr

1
3

10fr

b7
5

b7

b7

b7

B b9

F9

3
3

10fr

b7
2

b7

b7

3
1

3
5

b7

1
3

C9

9fr

B b 13

F13

10fr

b7
3

b7

10fr

b7
3

3
1

b7
6

b7

C13

2
1

3
1

3
5

b7

9fr

b7

b7

b7

3
1

G U I TA B U L A R Y, V O L U M E 1

15

THEORY LESSON: BRAD CARLTON

Optional Arpeggios

for use over the C7 in Gimme an F:

C aug

C 7# 5

C 7# 9# 5
3

b7

8fr

#5

#9
3

#5
3

#5 1
3

#5

b7

b7

#5 1

#9 #5
3

Scale and Arpeggio Syllabus

for Gimme an F
The outline below is a brief overview of some options
for soloing over Gimme an F.

ARPEGGIOS*

SUB-SCALES

I. Over F7 use F Blues Composite, which contains these

sub-scales and arpeggios:
A) F Minor Pentatonic
B) F Blues
C) F Major Pentatonic
D) F Major Pentatonic add b 3
E) F Minor Pentatonic add 3
F) F Blues add 3
G) F Dorian
H) F Mixolydian
I) F Dorian add 3 (F Mixolydian add b 3)
J) F 7
K) F 7/6
L) F 9
M) F 13
II. Over Bb 7 use mode III of the F Blues Scale

ARPEGGIOS*

SUB-SCALES

III. Over Bb7 use Bb Blues Composite, which contains

these sub-scales and arpeggios:
A) Bb Blues add 3
B) Bb Mixolydian
C) Bb Minor Pentatonic add 3
D) Bb Dorian add 3 (Bb Mixolydian add b 3)
E) Bb Major Pentatonic
F) Bb Major Pentatonic add 3
G) Bb 7
H) Bb 7/6
I) Bb 9
J) Bb 13

16

b7

G U I TA B U L A R Y, V O L U M E 1

b7

#9
3

b7

#9 #5 1
3

IV. Over C7 use Use Mode V of the F Blues Scale

V. Over C7 use Use C Blues Composite, which
contains these sub-scales and arpeggios:
A) C Blues
B) C Blues add 3
C) C Mixolydian
D) C Minor Pentatonic
E) C Minor Pentatonic add 3
F) C Dorian
G) C Dorian add 3 (C Mixolydian add b 3)
H) C Major Pentatonic
I) C Major Pentatonic add b 3
J) C7
K) C7/6
L) C9
M) C13
SUB-SCALES

8fr

ARPEGGIOS*

8fr

VI. Over C7 you may also use these arpeggios:

A) Bb Blues add 3
B) Bb Mixolydian
C) Bb Minor Pentatonic add 3
VII. When applying a scale or mode such as Dorian
or Mixolydian over any of the three chords in Gimme
an F, try intervals, triads, 7th chords and pentatonic
sub-scales that reside within these scales or modes.
*b 3 and/or b 5 added to these arpeggios will form
modified arpeggios.

D E F G A B C D

How To Apply Master Theory

Q: What are the notes in the key of A?
A: In the Major Scales chart on page 8, find A in the
far left column and read from left to right:
A B C#

D E F#

G#

Q: What is the 7th in the key of F?

A: In the Major Scales chart on page 8, find F in the
far left column. Scan across to the VII column, where
youll find E.
Q: What is the II chord in the key of G and what notes
are contained in it?
A: In the Major Scales chart on page 8, find G in the
far left column. Scan across to the II column, where
youll find A. This is the root note of the II chord in
the key of G. To find the other two notes in this triad,
read every second column. The spelling of the II chord
in the key of G is: A C E. The Diatonic Triads box on
page 8 indicates that the II chord is minor. Therefore,
the II chord in the key of G is Am.
Q: What is a VI-V-IV progression in the key of C?
A: In the Major Scales chart on page 8, go to the key
of C in the far left column. Scan across to find the notes
in the VI, V, and IV columns. This will yield the notes
A G F. Go to the Diatonic Triads box on page 8 and
locate VI, V, IV and their respective chord qualities. A
VI-V-IV progression in the key of C would be: Am G F.
Q: What is the b 5 in the key of Bb ?
A: In the Major Scales chart on page 8, go to the key
of Bb in the far left column. Scan across to the V column
and flat that note. The b 5 in the key of Bb is Fb .
Q: What is the 11th in the key of E?
A: On page 8, find the chart labeled Scale Degree
Equivalents For Extensions Beyond One Octave. Notice
that 11=4. This means that 11 is one octave higher than
4; They are the same letter name. In the Major Scales
Chart, go to the key of E in the far left column and scan
across to the IV column. The 11th in the key of E is A.
Q: What are the mode names listed across the bottom of
the Major Scales chart?
A: They are names given to scales that are the same
series of notes as the major scale but that differ in their
starting and ending points. For example, the notes in
the key of C are:
C D E F G A B C
This is called a C major scale of the C Ionian mode. By
taking this same scale and starting and ending on D, the
D Dorian mode is formed:

This process can be applied to each of the seven different scale degrees of the major scale, thus creating the
modes. If you know how to play a major scale, you
know how to play modes. Just start and end on the
appropriate scale degrees. See the Parent Scale Concept
section on page 9 for more information on the modes.
Also, be aware that the concept of modes can be
applied to any scale.
Q: How do I know what mode or scale to use over a
given chord?
A: The sound of each mode corresponds to the harmony built off each scale degree of the major scale. Thus
the ionian, lydian and mixolydian modes are major in
tonality, and the dorian, phrygian and aeolian modes
are minor. Consult the tonal color chart next to the
Parent Scale Concept on page 9 for clarification on this
subject. The most thorough way to know your options
is to determine the spelling of the chord you wish to
solo over and then view the arpeggio as a subset of the
applicable scales. Heres an example: Lets say you want
to solo over an F Major 9 chord. First go to page 8
and locate the formula for a major 9 chord. This would
be 1 3 5 7 9. Apply this formula to the key of F on
page 8. The spelling for an F major 9 would be: F
A C E G. Take the formula 1 3 5 7 9 and compare it to
the scale formulas on page 9. The only scales that
have the numbers 1 3 5 7 9(2) as a subset are ionian
and lydian. Applying the formulas for these scales to the
key of F on page 8 spells the following:
F Ionian F G A Bb C D E F
F Lydian F G A B C D E F
Since the major pentatonic scale on page 9 is a
subset of both the ionian and lydian modes, it would
also be applicable in this soloing situation by examining
all of the chords that could be built off of each degree of
both the F Ionian and F Lydian models a complete
overview of your options would exist.
Q: Will the numbers always match up when Im comparing chord formulas to scale formulas?
A: Not always, because of Blue notes and altered tensions over dominant family chords. Also, the issue of
implied extensions and/or tensions is a consideration.
For example, if you were going to solo over a G7 chord
in a blues situation you would apply the G blues composite scale. Page 8 lists the formula for a Dom 7
chord as 1 3 5 7. On page 9 you can see that 1 3 5
b 7 is a subset of the blues composite 1 2 b 3 3 7 # 7 5 6
b 7. The next issue at hand would be to examine all of
the subsets contained within the blues composite scale.
This is listed on pages 12 and 13. Page 13 presents
tonal color evaluations for the blues composite
scale and dominant arpeggios, respectively. If the G7

G U I TA B U L A R Y, V O L U M E 1

17

THEORY LESSON: BRAD CARLTON

chord you were going to solo over was part of a progression where it was resolving to another chord as
opposed to being the "home base" for a blues you would
need to consider any possibletensions or altered tones
that might be occurring inother instrument part (real)
or that may be implied bythe progression. This is an
ear thing and it comes with experience.
Q: Do subjects in music theory ever have more than one
label?
A: Yes. Some examples of this can be seen by comparing
formulas:
Maj 6/9 arpeggio= maj pent scale
Min 7/11 arpeggio= min pent scale
Aeolian mode= pure minor scale = minor scale = relative minor scale
7 add b 3 arpeggio = 7# 9 arpeggio
D = c/d = Am 7/d
Em 7b 5 = Gm 6 = B b6 b 5 = C9 (without root)
Q: What are Blues notes and how do I treat them?
A: As described on page 9 under tonal colors, blue
notes are the # 4(b 5), the b 3 when played over a dominant chord that contains the 3 and the b 7 which reinforces the Dom sound. When playing over a Dom 7
chord in which the 3 is present or implied, a very effective vocal inflection can be applied by playing the b 3
and then bending up slightly. This bend does not have
to be a complete half-step, thus it is frequently labeled a
step bend. A great deal of the expressive nature of the
blues lies in these pitches between the b3 and 3. This
same principle applies to the pitches between the 4 and
the 5. Here is a more theoretical analysis: The Dom 7
chord has a 3 in it; Tension is produced when the b 3 is
played against it. This tension is resolved when you follow the b 3 with the 3 (or bend part way to the 3).
Complete resolution in not necessary, but if you do
bend up, stop the string so that you dont revert back to
a tension situation (the b 3). If you are playing over a
minor chord, the 3 would be a wrong note. I dont recommend bending the b 3 at all in this case.
Q: I can jam over one chord or chords that stay in one
key all day, but I hit a wall when the key changes. How
can I conquer this?
A: Many times when the tonal center or key of the
moment changes, there are many common tones. These
can be used to bridge the chord changes. Ultimately,
though, you should learn which notes change and use
them as targets; depending upon whether they are
strong chord tones. Example: C maj 7 to B6 13 sus 4
C7 is spelled C E G B
Scale choices are C Ionian: C D E F G A B

18

G U I TA B U L A R Y, V O L U M E 1

and/or C Lydian: C D E F# G A B
Bb 13 sus 4 is spelled: Bb Eb F Ab C G
Scale choice is Bb Mixolydian: Bb C D Eb F G Ab
Common tones: C D G and possible F if C Ionian is
used.
Notes that change: B moves to Bb
A moves to Ab
E moves to Eb
Q: If Im improvising over chords that are all built from
the same major scale, can I just visualize the major scale
on my instrument and solo?
A: Yes, you can do this as long as you have your ears on
and its a great way to get started improvising. The
problem with this approach is that it doesnt provide for
the definition of the harmony in your solo. The prevailing chord defines the mode, so you need to be aware of
the changes. For example, lets say you were playing
over the following changes:
Am
F
key of C VI

C
IV

G
I

Aeolian Lydian
(C Major

Ionian

Mixolydian

You can see how the modes change with each chord
change, even though youre theoretically in C major
throughout. If you were to practice playing the C scale
from A to A for A Aeolian; F to F for F Lydian; C to C
for C Ionian; and G to G for G Mixolydian, then you
could change modes quite easily. The best approach
would be to learn the arpeggios for each of the chords,
and use them as a melodic framework upon which you
could then build using the remaining notes in each
mode. Remember, you should be able to hear the chord
changes in your single note solo.
Q: I find it easier to think in a particular mode
(like Dorian) even when Im not soloing over a minor
chord. Is this OK?
A: This approach has its place and can produce some
interesting sounds, as youre not targeting the root of
the prevailing chord. This should be used as an additional technique to the principle of thinking off the
prevailing chords root; not in place of it.

Six-Step Approach to Improvisation

1. Identify the chords you wish to solo over. The harmony will determine what scales are available for
improvisation.
2. Determine the spelling of the chord by applying the
chord formula to the major scale that has the same root
as the chord. The resulting group of notes will be the
arpeggio of the chord. Use the arpeggio as a skeletal
framework for your solo.

4. Be aware of all subsets which reside within the scales.

These would include arpeggios, pentatonic scales and
clusters.
5. Apply chromaticism through the use of passing
tones, upper and lower neighbors, suspension, anticipation, and various ornamentation. Chromaticism may
also be applied to produce outside playing through the
use of scales not rooted against the prevailing chord.
6. Hear the tonal colors produced in all situations.

3. Determine which scales contain the chord by comparing formulas. In dominant blues situations this
would include the use of the b3 over the 3.

NOTES:

G U I TA B U L A R Y, V O L U M E 1

19

guitabulary
Volume 1

GUITABULARY CREDITS
Producers: George Harris, Brad Carlton
Executive Producer: Brad Wendkos
Engineers: Chris Duffecy, George Harris
Transcriptions: Andy Frazier, Brad Carlton
Engraving: Andy Frazier

Guitar: Barry Greene, Steve Petrey, Brad

Carlton, George Harris
Bass: Tim George
Drums: Dave Reinhardt
Keyboards: Ron Reinhardt